«Дедушка, голубчик, сделай мне свисток».
«Дедушка, найди мне беленький грибок».
«Ты хотел мне нынче сказку рассказать».
«Посулил ты белку, дедушка, поймать».
— Ладно, ладно, детки, дайте только срок,
Будет вам и белка, будет и свисток!
Конг Лин была популярной певицей и певицей из Гонконга 1960-х, она пела джаз, ча-ча, рок-н-ролл и поп-музыку. Она также записывалась с популярной гонконгской поп-группой The Fabulous Echoes.
гонконгская актриса телеканала TVB. Ее актерская карьера началась в 1960-х годах, когда она была популярным кумиром подростков вместе с Конни Чан По-чу и Жозефиной Сиао.
A1 Les Reed And His Orchestra With The Eddy Lester Singers - Good Morning Starshine
A2 Frank Chacksfield And His Orchestra – By The Time I Get To Phoenix
A3 Ray Martin Orchestra And Chorus – Tie A Yellow Ribbon Round The Old Oak Tree
A4 Bryan Daly And The London Festival Orchestra – Wave (guitarra – Bryan Daly)
A5 Botticelli And His Orchestra – Song Sung Blue
A6 Maurice Larcange With The Roland Shaw Orchestra And Chorus - Live For Life (Acordeao – Maurice Larcange Choir, Orquestra – Roland Shaw Orchestra And Chorus)
A7 Ted Heath And His Orchestra – Light My Fire
B1 Werner Muller And His Orchestra – Nights In White Satin
B2 Chris Waxman – What The World Needs Now Is Love (orgao – Chris Waxman)
B3 Ronnie Aldrich And His Two Pianos With London Festival Orchestra And Chorus – Alone Again
B4 Edmundo Ros And His Orchestra – Up Up And Away
B5 Stanley Black And His Orchestra – These Boots Are Made For Walking
B6 Claude Denjean – Everbody's Talking (Sintetizador – Claude Denjean)
B7 Mantovani And His Orchestra – Theme From Love Story
A sexy, late 50s nightclub singer with a bit of a jazzy bent. A warm intimate style of singing that makes the material stand out more than the usual vocal session from the time. Morrissey was popular in upscale dinner clubs all over the US and UK.
The album cover is shaped as a football with a picture of the Jules Rimet trophy on the front along with the signatures of the squad. It is a gatefold sleeve, made up of 5 sections, with pictures of the match against West Germany from 1966. It slso shows photos of the 1970 Squad who went to Mexico.
Artist credited on the label as "England World Cup Squad "70"".
The Rivingtons, whose pedigree stretches back into the doo-wop era, secured a place in music history when their first 45 was a US top 50 hit in the summer of 1962, and the insistently catchy lyrics of 'Papa Oom Mow Mow' turned every listener into a sing-a-long bass voice. The group went on to capture the dance-craze market with 1963 hit 'The Bird Is the Word', and those two songs were merged as a medley in `Surfin' Bird' by The Trashmen later that year to reach the US top 10, later being used as incidental music in the war movie 'Full Metal Jacket'.
The Rivingtons were, however, more than just a rock'n'roll novelty group, and at the dawn of the soul era recorded some superb ballads, of which 'I'm Losing My Grip' and 'Deep Water' have until now been hard-to-find gems.
English actress best known for her roles as Cathy Gale in British TV series The Avengers and Pussy Galore in Bond film, Goldfinger. Her first film role was in Fame Is The Spur in 1947.
She recorded a duet with Patrick Macnee in 1964, which became a huge hit 26 years later. She also recorded an album, Everything I've Got after appearing in Goldfinger.
Died : December 11, 1975 in New York City, New York.
Lee was a popular singer jazz active from the early 1930s up to 1972 when she withdrew from the musical scene.
Wiley began her radio career at KVOO in Tulsa, Oklahoma. She sang on the Mrs. Eleanor Roosevelt program on NBC in 1932, and was featured on Victor Young's radio show in 1933. From June 10, 1936, until September 2, 1936, she had her own show, Lee Wiley, on CBS.
In 1939, Wiley recorded eight Gershwin songs on 78s with a small group for Liberty Music Shop Records. The set sold well and was followed by 78s dedicated to the music of Cole Porter (1940) and Richard Rodgers & Lorenz Hart (1940 and 1954), Harold Arlen (1943), and 10" LPs dedicated to the music of Vincent Youmans and Irving Berlin (1951).
The players on these recordings included Bunny Berigan, Bud Freeman, Max Kaminsky, Fats Waller, Billy Butterfield, Bobby Hackett, Eddie Condon, Stan Freeman, Cy Walter, and the bandleader Jess Stacy, to whom Wiley was married for a number of years. These influential albums launched the concept of a "songbook" (often featuring lesser-known songs), which was later widely imitated by other singers.
The album ”Songs” was a giant success and gave the Olsen Brothers so much positive response that they could not but record the follow-up ”More Songs”. The album presents great versions of 14 classics, recorded with intimacy and joy to music. Along with a number of the best musicians in Denmark, the brothers celebrate the composers and lyricists of beautiful songs such as ”Yellow River”, ”Fernando”, ”Take Good Care Of My Baby”, ”Black Is Black”, ”Hello Mary Lou (Goodbye Heart)”, ”You Don’t Have To Say You Love Me” and many more.
All songs on ”More Songs” are favourites that have followed the Olsen Brothers since their tender youths, and are songs they often wanted to record. The love for the music is even more obvious on ”More Songs”, steaming of atmosphere and a joy to play. A lovely sound adventure respectful to the original versions, and including the quite unique musical intimacy characteristic of the Olsen Brothers. Quality and musical craftsmanship are guaranteed with experienced and skilful musicians like Poul Halberg (guitar), Jette Schandorf (bas), Olle Nyberg (keyboard and accordion), Jan Sivertsen (drums) and Jacob Andersen (percussion) as well as Bobo Moreno and Arvid Nielsen on chorus.
People throw around the phrase "one-hit wonder," but most of the time it doesn't quite apply to the artists who get branded with it. The Shocking Blue, for example, pop up on various "one-hit" lists, yet they had two other Hot 100 hits besides their #1 smash "Venus." Similarly, the Lemon Pipers made the Hot 100 twice beyond "Green Tambourine." A-Ha also had two more hits besides "Take On Me" in the 1980s.
But '60s-era teen singer Andrea Carroll is an artist who truly deserves her one-hit wonder status. The Cleveland native, who was born Andrea Lee DeCapite, placed only a single Top 100 hit in her five-year recording career. But it's an unforgettable one. "It Hurts To Be Sixteen" is a jangly, bittersweet girl group-styled number that's mighty catchy. The song, in which a young girl laments being too old for kid stuff but not quite old enough for dating, got to #45 in the summer of 1963 (see the Billboard Hot 100 book entry above -- click for larger size).
Since Carroll has since gone on to earn a Ph.D. and become Dr. Andrea Hill, I'm sure being known as a one-hit wonder isn't too bad a thing for her. I personally wouldn't complain. Plus, her hit was allegedly penned by Neil Sedaka under the pseudonym "Ronnie Grossman." With this tune, Sedaka (or Grossman) tapped into a theme that looked ahead to other, less innocent coming-of-age songs like Alice Cooper's "I'm Eighteen" and Britney Spears' "I'm Not a Girl, Not Yet a Woman."
Had "Sixteen" been a bigger hit for Carroll, she might have been able to score another one on its coattails. But Carroll's "It Hurts To Be Sixteen" stalled out before it hit the Top 40 and the reason for that is probably because a competing version was released by a fellow teen singer named Barbara Chandler. That version hit the pop charts exactly a week after Carroll's record made its chart debut (see graphic above). Chandler was herself a one-hit wonder who only managed to get to #114 on the Bubbling Under chart with a more upbeat version of "It Hurts To Be Sixteen." But that was probably enough to cause Carroll's single lose chart momentum.
Which is a shame, because Carroll's version is by far the superior one. It's hard to imagine a more natural marriage of singer and song. Carroll gets "inside" the lyric and comes off as believably wistful, hurt, and even a bit pouty. She gets the point across so well, in fact, that even if you're years beyond sweet sixteen, you're likely to relate to the song because it's the emotion, not the details, that Carroll puts across. This is a hallmark of a great singer.
Unfortunately, Carroll's distinctive vocal style didn't result in much success, and she never released an album. But she did cut a bunch of other great single sides. These songs have not been served particularly well by the (bootleg) CD collection that's been circulating for the past decade or so. It's great that someone took the time to put that set together, but not so great that the sound quality ranges from below average to very poor.
This collection is my attempt to remedy that. It presents Carroll's first nine singles in chronological order with above-average-to-excellent sound and at the correct speeds. From 1961 to 1966, she recorded for four labels: Epic, Bigtop, RCA Victor, and United Artists and info on each record is in the track tags. For bonus tracks, I also included five other recordings she made (although it's questionable whether one of them is actually her).
More than 50 years on, it's clear that not all of Carroll's singles were chart-worthy. That especially goes for some of the boilerplate plate pre-Beatles-era ballads she recorded. She also cut the original "Please Don't Talk To The Lifeguard" which was made into a hit two years later by Diane Ray who did a better version. But some of Carroll's records are excellent and there are at least three that I'd call genuine under-the-radar classics.
First and foremost among these is "The Doolang," a song about a would-be dance craze that was written by Neil Sedaka's lyricist Howard Greenfield and Helen Miller ("Don't Say You Don't Remember"). It's got a rockin' beat, a sassy lead vocal, and a gritty sax solo. It's also got an additional sax solo on its fade out and I think that if they'd repeated the opening line in that space, they'd have had a much more commercial record. But that's just me.
To my ears, the standout track is "Gee Dad," which has to be one of the weirdest tunes in pop music history -- and I'm saying this as someone who owns virtually everything Frank Zappa and Captain Beefheart ever recorded. The lyric of "Gee Dad" is sung almost entirely in a hilarious parody of the "teen lingo" of the early '60s that adults used to complain about. It's in the vein of the ridiculous "Kookie, Kookie (Lend Me Your Comb)," but the songwriters go so over-the-top with it that it almost sounds like Carroll is singing in a different language. In short, it's nearly incomprehensible, which makes it even funnier.
They even included a "glossary" on the picture sleeve (at right). The use of the word "gassy" on that sleeve and the fact that this was on Bigtop Records makes me think it's somehow connected to another silly Bigtop release, Mad Magazine's Mad Twists Rock'N'Roll album from 1962. Carroll, to her credit, breezes through the wacky lyric and the disc definitely rocks. But it was probably too "out there" for DJs who hadn't yet heard "Wowie Zowie" or "Abba Zaba." Still, it's an undiscovered gem that should be heard by any fan of '60s music.
Way, way, way over on the other side of the musical spectrum is "The World Isn't Big Enough," a melancholy ballad with sociopolitical overtones that songwriters Bernice Ross and Lor Crane might not have intended. The duo, who co-wrote "Don't Just Stand There" for Patty Duke and "White On White" for Danny Williams, came up with a melody and lyric that sure sounds hit-worthy when you listen casually. But radio stations have to listen closely to lyrics and this one starts out with a couplet that insinuates the teenage singer might be pregnant, which was a definite no-no for 1966: "They're sending me away/they say our love won't stand the test of time/you by now they'd know/that out of sight's not always out of mind." .
Granted, the song doesn't come out and say that. But sending unwed teenage mothers to far away towns is exactly what parents did back in those days, so the idea is implicit. And also, what type of parents -- then or now -- would make their teenage daughter actually up and leave merely because they didn't approve of her boyfriend? Think about that: A few dates with the high school hood and it's time to turn the entire family upside down by giving li'l Andrea on a ticket to ride. That'll teach her!
Whatever the writers intended, this lyric couldn't have endeared Carroll to radio program directors in 1966. But it does make for a great tune. And it has a first-rate lead vocal. Carroll shows here that she had both range and skill and that she could handle adult ballads as well as she sang teenybopper fare.
This collection also concludes with five bonus tracks, all of which need some 'splaining.
The first two, "Play Me A Sad Song" and "That Boy I Used To Know" were recorded in '63 but not released until ten years later when they appeared on a super-obscure album by Carroll and girl group/demo singer Beverly Warren called Side By Side. The latter title was misprinted on label as "The Boy I Used To Know."
"When People Are Around" was the A-Side to Carroll's final single for United Artists (UA 50062). This 45 is so rare that it doesn't show up in either the Discogs.com or 45Cat discographies. But it's mentioned on several Web pages. If anyone has a copy, please get in touch because I don't have the B-Side, "Winter In My Heart," and would like to add it to this collection. (While I'm asking for things, I'm also looking for the original mono 45 mix of "This Time Tomorrow." All I have is the later stereo one that circulates.)
"Only My Friend" is a track that went unreleased in its day but turned up on YouTube decades later. The song was also released by the Chiffons as the B-Side to "A Love So Fine" in 1963 but unlike "Only My Friend," it uses a completely different backing track. Finally, this set concludes with the demo version of "This Time Tomorrow." It doesn't sound like it features Carroll on vocals, but I included it anyway just because.
We'll conclude this post with some words about teens and psychology, since Carroll is probably the only former teen singer to hold a Ph.D. in that field.
Recently, USA Today reported on a new study conducted by San Diego State University psychology professor Jean Twenge about how today's teens are taking longer to grow. Twenge also penned a book, "iGen," which looks deeper into the concept of "18 being the new 15" and the societal ramifications of that.
What makes this relevant for Carroll -- or Dr. Hill, as she's now known -- is that the theme of "It Hurts To Be Sixteen" has now come full circle. In the early '60s, its lyric about being allowed to date as a teenager clearly resonated with the public. But by the time of the "Fast Times At Ridgemont High" generation came of age in the '80s, the song seemed laughably quaint and old-fashioned.
Well, everything old is new again, as they say. And according to Twenge, teens are now putting off both dating and sex until they're older.
Some of this is due to the "helicopter parents" of today who got that nickname because they're always hovering around their kids' lives. The idea of parents being more than a little involved with their teenage children was something that would have been a complete embarrassment to teens from the "Ferris Bueller" era.
Back then, my folks had no friggin idea what I was up to when they'd leave me home alone and go on trips to New York and Florida. Actually, that's not quite true. They had a pretty good idea because they'd always warn me to "use protection!" when they left me and my girlfriend to engage in more teenage sex and nudity than John Hughes could have ever imagined.
But today's teens, it seems, don't live lives ripped from the scripts of "Risky Business" or "Fast Times." So maybe, somewhere, there's a teenage girl bemoaning her folks' ban on dating and finding a reflection of her life when she Googles her troubles and the half-century-old "It Hurts To Be Sixteen" comes up as a search result. If the song doesn't ease her mind, perhaps Dr. Hill might be able to help -- since she's definitely familiar with that whole scenario.
Дочь учителя Уильяма Тиу из Гонконга, она одна из сестер Тиу (с Вики Тиу), у которой был Большой успех гастролировала под названием «Джинни Тиу Ревю».
Другие ее сестры Пэт, Элизабет ТИУ и его брат Александр ТИУ также были артистами
Джинни была пианисткой в пять лет. Она дебютировала в «Шоу Эда Салливана», а затем появилась в ряде крупных шоу той эпохи, таких как «Шоу Перри Комо», «Вечернее шоу» и Элвис ПРЕСЛИ в фильме «Девушки, девушки, девушки». ! (1962), выступала перед президентом Кеннеди.это помешало ей некоторое время спустя сыграть с Элвисом Пресли в фильме «Блондинки, брюнетки и рыжие», роль исполнила ее сестра Вики ТИУ .Позже Джинни Тью гастролировала по Европе, Азии и Южной Америке.
Лола Джин Олбрайт (родилась 20 июля 1925 года, Акрон, Огайо) - американская певица и актриса.
До переезда в Голливуд Олбрайт работала моделью. Она начала свою карьеру в кино с эпизодической роли в фильме 1948 года «Пират», а затем сыграла важную роль в знаменитом хите «Чемпион» 1949 года. В течение следующих десяти лет она сыграла второстепенные роли в более чем двадцати фильмах, в том числе в нескольких вестернах категории «B». Олбрайт также снялась в гостевых ролях в нескольких телесериалах.
В 1958 году она получила роль Эди Харт в сериале «Питер Ганн», телевизионном детективном сериале Блейка Эдвардса режиссера Роберта Альтмана с музыкальной темой, которая сделала Генри Манчини знаменитым. Олбрайт сыграла певицу из ночного клуба романтическим увлечением Питера Ганна, которого сыграл Крейг Стивенс. В 1959 году она была номинирована на премию «Эмми» за лучшую женскую роль второго плана. Ее роль требовала пения и привела к выпуску в 1957 году ее музыкального альбома Lola Wants You, а также ее альбома 1959 Dreamsville, в котором ее песни сопровождались Генри Манчини и его оркестром.
Популярность Олбрайт привела к появлению нескольких главных ролей в кино, включая фильм Элвиса Пресли 1962 года «Кид Галахад»; французский фильм 1964 года «Les Felins» режиссера Рене Клемана; и эпический вестерн "Путь на запад".
Позже в 1964 году она появилась в роли Даффа Дэниэлса в эпизоде "Sticks and Stones Can Break My Bones" со своим бывшим партнером по фильму Питером Ганном Крейгом Стивенсом в его недолгой драме телеканала CBS «Мистер Бродвей».
Позже в 1965 году она появилась в эпизоде «Поиски Бонанзы» в роли Энн. В 1966 году Серебряный медведь за лучшую женскую роль на 16-м Берлинском международном фестивале.
В 1968 году Олбрайт появилась в фильмах «Невозможные годы» с Дэвидом Нивеном и Кристиной Ферраре и в «Где вы были, когда погас свет?». с Дорис Дэй. Она также появилась в медицинской драме NBC «Одиннадцатый час».
Популярность Лолы Олбрайт в результате сериала «Питер Ганн» привела к ряду главных ролей в кино, включая фильм Элвиса Пресли 1962 года «Кид Галахад» с Аленом Делоном и Джейн Фонда во французском фильме 1964 года Les Felins известного режиссера Рене Клемента и эпический вестерн "Путь на запад". Она продолжала сниматься в кино и в качестве приглашенной актрисы в ряде телесериалов до выхода на пенсию в начале 1980-х годов.
В конце 50-х лейбл Лью Рэймонда решил помещать женщин на обложки каждого своего альбома, пытаясь вызвать у мужчин чувство возбуждения. Впереди были «Кокетливые 30-е» и «Большие« Хиты »сказочных 50-х» , Но «Только для мужчин» 1957 года был его самым провокационным релизом с Джейн Мэнсфилд на обложке и первой версия "Чего хочет Лола".
Lead Vocals – Bob Conrad (tracks: 13 to 22), Clint Eastwood (tracks: 30), Dean Jones (tracks: 32), Don Grady (tracks: 31), Dwayne Hickman (tracks: 1 to 12), Jack Larson (2) (tracks: 23, 24), Jerry Mathers (tracks: 28), Michael Landon (2) (tracks: 25, 26), Tim Considine (tracks: 27), Troy Donahue (tracks: 29)
Родился 15 июля 1932 года в поселке Дубна Московской области (ныне - Тульская область).
Эстрадный певец.
Заслуженный артист РСФСР (12.07.1984).
Закончил в Туле училище и работал наладчиком на оружейном заводе. Несмотря на отличные вокальные данные, петь не стремился.
В 1950 году был призван на военную службу, где стал участником ансамбля МВД, художественным руководителем которого был знаменитый Вадим Козин. Первые выступления состоялись для заключённых.
После демобилизации профессиональная карьера Макарова была связана с Донецким шахтёрским ансамблем, Северо-Осетинской и Тульской концертными организациями.
Завоевал звание лауреата в 1966 году на I Всесоюзном конкурсе артистов эстрады в Москве и в 1967 году на международном конкурсе-фестивале "Дружба" в Польше. После этих успехов стал солистом Москонцерта.
Наряду с песнями советских композиторов ("Последняя электричка", "Песенка находит друзей", "Спят курганы тёмные", "Бухенвальдский набат") исполнял сочинения известных бардов (Высоцкий, Кукин, Окуджава, Анчаров), а также русские варианты иностранных песен ("Четыре таракана", "Тамбур-мажор", "Оркестр пожарных").
В апреле 1986 года певец пережил инфаркт, затем второй, после чего практически покинул профессиональную сцену.
Умер ночью 29 июля 2008 года в Москве от остановки сердца. Похоронен на Троекуровском кладбище, участок N 14.
